Anne-Marie Cutul. Twentieth-century European painting: a guide to information sources. (Art and architecture information guide series; 9). Detroit: Gale, 1980. &28.00 ISBN 0-8103-1438-X.

1982 ◽  
Vol 7 (1) ◽  
pp. 49-50
Author(s):  
Rodney Burke
2017 ◽  
Vol 11 ◽  
pp. 196-201
Author(s):  
Angela Juarranz

In the twentieth century a specific kind of beauty emerged from art: the increased value of the mundane. Contemporary art shows that common situations have an aesthetic significance. But architecture does not pay any attention to this scope. What is more, it tries to deny it. Nor the design process nor the architectural photography show the presence of mundane things. Fortunately, we have some works to go in depth into this day-to-day issue. Let’s analyze the photograph Morning Cleaning, Mies van der Rohe Foundation, Barcelona, (Jeff Wall, 1999), the intervention Phantom, Mies as Rendered Society (Andrés Jaque, 2012) and the film Koolhaas Houselife (Ila Bêka and Louise Lemoine, 2008). By considering the visual and spatial value of these cases, we reconsider them as an experimental space. What if architecture starts looking at its surroundings?


Author(s):  
Hakan Saglam

The concept of ‘Art’ in the modern meaning, evaluates within the Enlightenment’s seminal World of philosophy. Before the Enlightenment architecture and craft were instinctively united fields of creating, almost impossible to detach one from the other. From the beginning of twentieth century the avant-garde of modern architecture were aware of the growing schism between art and architecture and vice versa. The pioneers were writing manifestos, stating that art and architecture should form a new unity, a holistic entity, which would include all types of creativity and put an end to the severance between “arts and crafts”, “art and architecture”.  Approaching the end, of the first decade of the twenty first century, as communicative interests in all fields are becoming very important, we should once more discuss the relation/ interaction / cross over of art and architecture; where the boundaries of the two fields become blurred since both sides, art and architecture, are intervening the gap between. The aim of this paper is to discuss the examples of both contemporary art and architecture, which challenge this “in between gap.” Key words: Architecture, art, interaction, in between.


2002 ◽  
Vol 45 (4) ◽  
pp. 917-936 ◽  
Author(s):  
ROBERT ALDRICH

This review looks at English- and French-language books on nineteenth- and twentieth-century French colonial history published since 1995. It considers issues of ideology, imperial governance, the mise en valeur (development and ‘improvement’) of colonies (for instance, in health and education policy), the representation of empire in art and architecture, and decolonization. Special attention is paid to Indochina. Recent works have stressed the evolving nature of colonial policy and its adaptability to local circumstances. The review notes a certain divide between works emphasizing the discursive aspect of empire, and more ‘materialist’ treatments, but remarks on a general renewal of interest in colonial history. Contemporary scholars have also given colonial history a more prominent position in French national history than it previously held.


2020 ◽  
Vol 13 (2) ◽  
pp. 183-204
Author(s):  
Teresa Madueño Hidalgo

There has been a patriarchal economic alliance between Spain and China in recent years, with the main victims being poor Chinese women without support networks and who are destined for prostitution in Spain. Twentieth century China, an important provider of goods, also supplies women to the Spanish prostitution market. This article is based on participant observation research in the private spaces related to Chinese prostitution in Madrid. Taking into account the prostitutes and their “managers” as primary information sources, we can know what is behind the advertising of Chinese prostitution to Spanish or non-Chinese buyers of sexual services, how this type of exchange works; we can also come to understand the protagonists’ life-stories through their own testimonies.


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